'Sweet Memories' / 'S.T.A.Y.' by Gizelle Smith

Gizelle Smith has long been one of the leading, dynamic and most exciting names in the UK's funk and soul scene.  Her debut full-length project - the dream combination with Hamburg's The Mighty Mocambos - suitably titled 'This is Gizelle Smith & The Mighty Mocambos' was released on Legere Recordings incredibly as far back now as 2009 and proved to be a seminal project for both parties.

Musician, performer, writer, composer, radio presenter... it's difficult not to get excited by anything Gizelle Smith turns her hand to and with releases through Legere Recordings, Record Kicks, Mocambo Records and Kay Dee Records already under her belt, it's Jalapeno Records who have the fortune of housing the upcoming full-length project entitled 'Ruthless Day' currently set for an early-2018 release.

The double A-side singles straight out of the box for the upcoming project are ‘Sweet memories’ and ‘S.T.A.Y.’, the latter of which features a pairing with US-vocalist Eric "E" Boss, formerly of the duo Myron & E and currently affiliated with The Mighty Mocambos and their Mocambo Records label.  ‘S.T.A.Y.’ is a quintessentially Gizelle Smith number: funky, infectious, dares-you-to-sit-still, while ‘Sweet Memories’ encapsulates everything you’ll love about Gizelle Smith: her ability to lure you in with her lush verses before completely changing pace and tempo again.  Both singles whet your appetite for the new album which can't come soon enough.

It's a thrill to have The Golden Girl of Funk return to reclaim her Crown!

EABS: "Electro-Acoustic Beat Sessions" [Interview]

'Repetitions (Letters to Krzysztof Komeda)' marks the staggering debut full-length effort from Polish jazz septet, EABS, who really solidify themselves as exciting and dynamic players in an already thriving jazz scene.

As alluded to in the title, the album marks something of a tribute to Polish film music composer and pianist, Krzysztof Komeda, who is best known for his film scores for Roman Polanski releases including 'Rosemary's Baby' from 1968.  Komeda's seminal and ground-breaking 1965 album shares its name with the independent record label home to EABS, Astigmatic Records.  For this project, EABS (Electro-Acoustic Beat Sessions) attempt to revive slightly lesser-known compositions from Komeda's extensive catalogue and the results are as inspiring as they are thrilling.

The US jazz pianist, Hank Jones, once said "I am the sum total of everything that I have experienced musically", and that is such an apt description for EABS' approach to their take on jazz: theirs is a wonderfully organic, all-inclusive and free-flowing melting pot of styles.  In the specific case of 'Repetitions', EABS pay tribute to Komeda, but their unique sound has been equally honed by legends from a more modern era like J Dilla and Pete Rock: hip-hop pioneers who have each embraced jazz as a springboard for their production techniques.  This concoction of styles births, what the band themselves describe as, a "personal interpretation" of contemporary jazz.

Although 'Repetitions' is the first official album release from EABS, the band have gifted fans with 'Puzzle Mixtape', which is also available from their Bandcamp page as a free download.  The nine-track selection features a collection of live performances recorded between 2012-2014 and through collaborations with M.E.D., Jeru the Damaja and Coultrain, this selection of tracks is perfect to showcase that level of improvisation and creativity that EABS boast amidst a live setting. [And for Dilla fans, make sure you take the chance to check out 'Reminisce' featuring Paulina Przybysz as it masterfully recreates Dilla's production of 'Reminisce' originally found on Bilal's '1st Born Second' album.]

Anything that could be said about how good EABS, and ‘Repetitions’, actually are would be an understatement.  Both ‘Repetitions’ and ‘Puzzle Mixtape’ are fully accessible, fascinating and charismatic pieces of work, and it's our great pleasure to have secured time with Marek Pędziwiatr from the band to discuss the band's evolution.

How did members of EABS come together to form the band?
Initially, Electro-Acoustic Beat Sessions was an event.  There were many jam sessions in Wrocław... so, we found our home: Puzzle Club.  The host band comprised of four members: Me on keys, Adam Kabaciński (bass), Marcin Rak (drums) and Spisek Jednego (turntables).  I created a book of hip-hop standards to explore them through live music.  There were many musicians and observers coming and going on our sessions.  Some of them joined us to play without any idea what it's all about and never came again, some of them joined us at each session and stayed with us forever.  At some point, we decided to quit switching hosts with other players, as in jam sessions.  So finally, we’ve realized that actually, we are not an 'event', we are the band.  This is where the story begins.

Who have been some of the biggest influences on the band's music?
The band has gone through three stages of evolution so far.  In the Puzzle times we were influenced by American and Polish hip-hop/jazz heritage like: Pete Rock, Madlib, DJ Premier, DJ Volt, Ahmad Jamal, etc.  Second stage was our work on 'Repetitions (Letters to Krzysztof Komeda)'.  Then we were inspired by more darkish artists: Komeda himself, David Axelrod, Jihad, Wu-Tang Clan, Lalo Shiffrin.  Now we are working on 'Slavic Spirits Suite' - the greatest influence is the 70s period of Czeslaw Niemen’s music.

How does the process of writing and creating new music usually work for the band?
Usually, I spend time on creating compositions/arrangements as if I was making beats using samples, mixing break-beats, recording keys.  I send these audio sketches to my people.  Then I write them down to bring it to rehearsals.  We work hard together on my vision until we play it correctly.  Then, I give my people total freedom to let them flow into this music, so the magic comes out.  This is the moment where I should mention our manager and visionary, Sebastian Jozwiak [Astigmatic Records] - he brings deep philosophy into our music and his impact is priceless.

What is it about Krzysztof Komeda that led you to explore his music?
There is such a thing as Komeda's standards.  We are diggers.  That is why we resisted to select songs which were interpreted billions of times.  We had to watch dozens of films and listen to the whole musical library of the composer before we started to arrange.  What we were looking for in Komeda's music was message, simplicity, melancholy and vibe.  The same thing happened in our previous works - if the source music is simple and has some space, we can easily fit in-between the cracks.  So then we were able to create a whole new substance naturally.

Can you talk a little about what went into the making of 'Repetitions'?
'Repetitions' took us a lot of work.  It required meeting a fairly large number of people, which is why this project took almost two years to see the light.  Although we are living in the digital world, here in Poland, the work process was almost analog.  Exchanging letters with Komeda’s heirs, watching films, digging unique recordings.  There is an interesting story behind Michal Urbaniak’s appearance.  The decision came when the album was already finished.  When I played it to Urbaniak, after the first song, he began to cry.  Before his solo career, in the 60s he played in Komeda's ensemble, so it brought him beautiful memories.  He asked me then if it was still possible for him to play on this album.  I was happy and confused.  Everything was ready.  Everything was played... I had to figure out the special place for Michal [...] which could have squeezed out freshness and roughness of Michal's sound.  'Free Witch & No Bra Queen/Suit' was the place to be.

Hip-hop seems to be such a prominent component in your music: to what extent has the genre impacted your style of jazz?
I was a hip-hop head since I was a little child, even before I started to play keys.  So every sound I make, even if it’s jazz, funk, soul, folk or even pop it always has this little flavor.  I think that rap music helped jazz to stay alive in its rough vibe.  Many young folks get into jazz via hip-hop.  So did I.

The Puzzle Mixtape features some very exciting collaborations: those performances must have been very exciting times?
Yes, and I remember the breakthrough.  It happened in 28th October 2012 when a Californian rapper Rashaan Ahmad came to Poland.  We managed to bring him to Wroclaw and organize an improvised concert without any previous arrangements and rehearsals.  The event was officially announced around a week before, and what was even worse, the concert was scheduled on Sunday.  We thought that we would play for a few music enthusiasts and leave the stage in a good mood afterwards.  But on the gig day, something completely unexpected occurred - the place was full of people!  We put on a brilliant, energizing concert, full of beautiful colours and the audience went crazy.  We had an after-party til 4am.  Few hours later we met in a studio to record a song together.  It was the beginning of a great adventure.  As Raashan’s band, we set off on concert tours all around the world, we visited France, Kazakhstan, and many more places.  Other propositions regarding collaboration were put to us by international performers such as Jeru The Damaja, Jesse Boykins III, M.E.D.  After having such a wealth of experience, we learnt how to play on an international level.

Who would be a dream artist for the band to either record or perform with?
EABS is a machine that makes your dreams come true.  It’s hard to say because it’s all happening now.  Now we are going to perform and record together with UK new jazz star Tenderlonious.  Probably, soon we will play with Polish trumpet legend Tomasz Stanko.  This is insane!


EABS are:
Marek Pędziwiatr: piano, synths, vocals 
Vojto Monteur: guitar 
Paweł Stachowiak: bass 
Jakub Kurek: trumpet 
Olaf Węgier: tenor sax 
Marcin Rak: drums 
Spisek Jednego: turntables

'The Rebirth of Soul' by Syleena Johnson

In a staggering career lasting nearly twenty years, Syleena Johnson emphatically delivers 'The Rebirth of Soul' - her eleventh studio release and, very possibly, her greatest effort yet.

For an artist that has collaborated with everyone from Anthony Hamilton to Busta Rhymes, the Grammy-nominated pairing with Kanye West for 'All Falls Down' and the duet album with Musiq Soulchild, it's the full-length pairing with Johnson's own father that people may have waited the longest to hear.

Soul and blues singer and producer, Sylvester "Syl" Johnson, boasts an incredible career that started in the 1950s and led him to record with Twinight Records and later Hi House.  Famed for his singles 'Is It Because I'm Black' and 'Different Strokes', the union of father and daughter for 'The Rebirth of Soul' has generated a fantastic piece of work and taken Syleena Johnson's music to an exciting new level.

Featuring ten cover versions including Aretha Franklin's 'Chain of Fools', Curtis Mayfield's 'The Makings of You', Etta James's 'I'd Rather Go Blind and Syl Johnson's 'Is It Because I'm Black', the album not only feels like a love letter to a classic bygone era of soul music, but also one to Chicago: the album was recorded in Chicago, the hometown and base for each of the Johnsons, plus the tracklist is neatly compiled to pay homage to either artists, songwriters or record labels from Chicago.

'The Rebirth of Soul' released through Shanachie Entertainment is masterfully executed and a truly exciting release marking this as something as 'Rebirth' for Syleena Johnson as well.

'Embers' by Flyt

'Embers' is the brilliant new EP from North London duo, Flyt, who now having resurfaced after a nine-year absence are already looking to make up for lost time with an exciting onslaught on 2018.

Released through their own Space Between Records, 'Embers' follows the beautifully-laid groundwork that their 'Soul Mentality' debut set out in 2008: an exciting blend of nu-soul, R&B and chillout and all brought together by Mary Mycroft's exquisite and dreamy vocals which are matched perfectly with Josh Mycroft's fantasticly lush soundscapes.

'Embers' is five tracks of sonic bliss and with more releases from Flyt currently scheduled for early-2008, this acts as the perfect introductory teaser for what lies ahead.

'Sounds of Crenshaw, Vol.1' by The Pollyseeds [Review]

Going into this review, Terrace Martin had already firmly secured his slot as one of the forerunners of the West Coast's burgeoning jazz scene.  With each year that passes though he seems to exponentially add to a never-ending list of achievements.

Outside of Martin's long list of collaborations on countless projects, Kendrick Lamar's seminal 'To Pimp A Butterfly' has been much-discussed on this site, Martin's 'Velvet Portraits' solo album of 2016 was outstanding, and the upcoming Herbie Hancock album scheduled for 2018 looks set to be another showstealer.  For 2017, however, we're still unwrapping the fantastic gift that is The Pollyseeds' 'Sounds of Crenshaw Vol.1' which is unsurprisingly another standout of the year released through the continually brilliant Ropeadope Records.

For The Pollyseeds, the producer, saxophonist and mult-instrumentalist makes the project a family affair enlisting a dynamic roll call of friends and long-time collaborators including Snarky Puppy drummer, Robert 'Sput' Searight, guitarist Marlon Williams, vocalists Rose Gold and Wyann Vaughn, Robert Glasper and saxophonist Kamasi Washington.  Adam Turchin also guests on sax duties and serves as the project's creative assistant. (It's absolutely worth mentioning that Turchin's own 'Manifest Destiny' project released earlier this year serves as an excellent accompaniment to 'Sounds of Crenshaw' so check out our previous review here.)

As expected, highlights are aplenty: the Glasper-assisted cover of Janet Jackson's 'Funny How Time Flies' is fantastic, 'Intentions' featuring rapper Chachi drips with infectious fun and 'Up and Away' simply soars.

We already know to keep eyes peeled for the Herbie Hancock project but what else 2018 brings for Terrace Martin will be just as exciting as what it will bring for the rest of The Pollyseeds team.  Bring on Volume 2!

'The Gene Ammons Project' by Brandon Allen

'The Gene Ammons Project' is the exciting new passion project from saxophonist Brandon Allen and his Brandon Allen Quartet.

Born in Perth, Australia, but having made London his home for nearly twenty years, Allen's resume is as formidable as those of his heroes: head of The Brandon Allen Quartet, The Brandon Allen Band, The Brandon Allen Sextet, Double Whisky Amnesia and one-half of QCBA with trumpeter Quentin Collins, Allen has also lent his talents to projects by The Kyle Eastwood Band, Omar, Soweto Kinch, Reel People and Paloma Faith amongst many others.

Be it live or through his studio recordings, Allen has always been one to tip his hat to the work of his heroes - Joe Henderson and John Coltrane were acknowledged in the uptempo swing of 'Modal Tranesition' on QCBA's 'Beauty In Quiet Places' album, released in 2015, and this very project was born of a series of live performances designed to showcase the music of iconic saxophonists.  Which brings us to the music of Eugene "Jug" Ammons.  Born in Chicago, Illinois, in 1925, the US tenor saxophonist will be remembered for his epic list of musical releases and having recorded and performed with talents including Miles Davis, Donald Byrd, Coltrane and Charlie Parker.  Of equal importance however, Ammons may perhaps be more remembered for the accessible way his take on jazz was able to fuse with elements of soul and R&B.

Accessibility in jazz has long been a discussion point all of its own, with many non-jazz fans feeling alienated by the lengthy and often improvised compositions of instrumental-based music.  Trumpeter Wynton Marsalis however once described jazz as "accessible to anybody who learns to listen to, feel and understand it," which is a sincere sentiment from a performer who, like Ammons, consciously takes steps to share the beauty of jazz with others.  Marsalis also went on to say, "The music can connect us to our earlier selves and to our better selves-to-come.  It can remind us of where we fit on the time line of human achievement, an ultimate value of art."  Taking the latter portion of Wynton's statement, Brandon Allen has masterfully used the music to develop that connection with one of his heroes with 'The Gene Ammons Project'.

Joining Allen on the project and rounding out this incredible quartet are Ross Stanley (piano, Rhodes and organ), Arnie Somogyi (bass) and Matt Home (drums) as they journey through a fairly comprehensive account of some landmark Ammons recordings.  Songs including 'Please Baby, Won't You Please Stay', 'You're Not The Kind', 'Ben' and 'The Black Cat' whose beautiful renditions are lovingly recreated for a new generation of jazz fans who may perhaps not be as familiar with Gene Ammons music, and this serves as a wonderful introduction.  Following on from Brandon Allen's live tribute series, it would be fantastic to see him tackle the music of another of his heroes if this is the end result.

For more on Brandon Allen, please visit https://brandonallen.co.uk/

'One Of These Days' by The Haggis Horns

With great excitement for funk and soul fans, The Haggis Horns have unveiled their fourth album - 'One Of These Days' - nearly twenty years after the band's initial formation.

The aforementioned great excitement for the new Haggis release not only comes from them being one of the leading acts in the UK's funk and soul scene, but also from having released an excellent EP which accompanied the album's second single, 'World Gone Crazy', unveiled earlier in September. 

Accompanying an excellent vocal on the single from long-term friend and collaborator for the Horns, Lucinda Slim, are remixes from an absolute dream team lineup of producers including Lack of Afro, Smoove and Sam Redmore.  The final gem from the slew of 'World Gone Crazy' mixes though is found on the album itself as the original and glorious eight minutes and thirty-five seconds can be found in full as originally intended. 

The album features a further collaboration with Lucinda, who guests on 'New York Beat' (another song making waves in its own right for its infectious disco flavours), along with another long-term friend and collaborator, John McCallum who also features on two songs including the album's fantastic title track.  But there's also room for new friends as London rapper Doc Brown appears on 'What's It All About' and the album's lead single from much earlier in the summer, 'Take It Back'.

Following in a long line of strong releases for The Haggis Horns ('Hot Damn!', 2007; 'Keep On Movin', 2010; 'What Comes to Mind', 2015), this “7 piece live funk extravaganza” constantly find ways to push their music and themselves forward and - to borrow a line we've used before - "their albums along with their reputation as tireless and exuberant live performers, have already solidified their status as one of the UK’s premier acts within the genre that we cherish so dearly".